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Okay Kaya: Abbey Road Amplify x Pitchfork London Sessions

Reeling off the viral success of her hit song, ‘Mother Nature’s Bitch’ and five albums deep into her career, the sixth episode in this series sees Norwegian-American musician Okay Kaya delve deep into her craft, explaining her various songwriting, production and recording techniques. ABOUT ABBEY ROAD STUDIOS A global music icon and the world’s first purpose-built recording studio, Abbey Road Studios has been home to countless landmark recordings and pioneering advances in music technology for over 90 years. The studios’ phenomenal history encompasses celebrated work by artists from The Beatles, Pink Floyd, Fela Kuti, Kate Bush, Oasis and Radiohead to Sam Smith, Florence + The Machine, Lady Gaga, Frank Ocean, Little Simz, Amy Winehouse, Brockhampton and Adele, as well as scores to films from Raiders of The Lost Ark, The Lord of The Rings Trilogy and many of the Harry Potter and Star Wars movies, to Gravity, The Shape of Water, 1917, Black Panther, Black Widow, Tar, Bohemian Rhapsody and Avengers: Endgame. Since stereo was patented at Abbey Road in 1933, the studios have been home to numerous innovations in recording technology and continue to innovate today with Europe’s first music tech incubator, Abbey Road Red. Discover more at

Released on 03/30/2023


[mellow music]

This is my very first time at Abbey Road Studio.

I really like it here.

[Kaya singing in Norwegian]

I wanted to write a song about your brain feeling

like this fairy that runs through the Norwegian fjords

to kind of consciously meditate

on your own thoughts and feelings minute by minute.

[mellow music swelling] [Kaya singing in Norwegian]

My approach to my voice is similar to a lot of my approaches

when producing and writing music.

It's kind of just opening.

Just try to not have so many limitations,

and try not to have any expectations,

and literally let whatever is driving you guide you.

[Kaya singing in Norwegian]

Leo came in on drums.

He's really excited.

He's a great drummer because you know

the song was pretty slow.

It had a lot of space in it.

I kind of knew that I would keep that space

because I knew that he could fill it

in a really special way.

[lively drum music]

I brought my own guitar. I used a Wurly.

I used the bass, and then there was the Prophet

for a synth and obviously the Ludwig drum kit.

I feel very blessed to be in the real studio

with an engineer because I used to work out of my bedroom.

Now I have a living room,

so that's like my studio now, another room.

I know. She owns a couch.

She's fancy.

I could just wake up at 4:00 AM and be like,

Oh, there's this...

I need to put a shaker on this track

or send it through to my friend

and wait for it to come back.

It's very convenient when you work in a non-linear way.

[mellow music swelling] [Kaya singing in Norwegian]

You come in with a bunch of fingers.

You realize that one of them is a hand.

You see some other fingers in a hand,

and then you put your hands together,

and that's when you know something slaps.

And that's music making to me.

[mellow music intensifying] [Kaya vocalizing]